青藏高原题材山水画研究

发布时间：2018-09-12 06:39

【摘要】： 青藏高原题材山水画属于一个较新的艺术题材。二十世纪以后,出现了一些以青藏高原为表现对象的绘画作品,并且逐渐形成气候。青藏高原因为有着比较特别的自然地貌和民俗风情,在青藏高原随处可见迎风招展的五色经幡、玛尼石堆和一步一伏的虔诚信徒,还有那低沉雄浑的法号,这些都使青藏高原笼罩上了一层神秘气氛。这里的人们对于自然的敬畏是其它许多地方难以想象的,比如这里的山会被称为女神,这里的湖会被称为圣湖。青藏高原所散发出的气氛,不用做任何艺术加工就自具其原始状态,因此以此为题材而创作出的作品,都往往带有青藏高原独有的气质,具有很高的艺术价值,并且该题材作品屡获大奖,成为引人注意的文化现象。青藏高原这一题材的表现在传统的中国画作品中是很少见的,主要是源于这里特殊的地理位置和交通的不畅,致使许多人都不了解这里。从二十世纪初开始：1、在中华民族抗战的背景下,开始有一些画家来到这里以此为题材进行艺术创作,他们以少数民族地区风土人情作为他们认识生活和艺术的源泉。这一时期的绘画作品有唤起中华民族共同体情感的暗示作用,与抗战的整体大局相契合。代表画家有张大千、叶浅予、吴作人、关山月、赵望云等。不过这一时期画家的青藏高原之行多数属于个人行为,也没有出现完全以青藏高原为题材的画家。2、二十世纪中期以后即新中国成立之后,从1960年开始有政府专门组织艺术家到青藏高原采风创作,如潘世勋、董希文、吴冠中等,而这种由政府组织的艺术创作模式为画家深入、广泛了解青藏高原提供了机会。同时这时期还开始有了在青藏高原长期工作的画家,如朱乃正、韩书力等。3、随着交通的改善,社会的安定,以及高原独特的风土人情,开始有许多画家慕名而来,以青藏高原为题材的艺术作品广泛出现,并较多的出现了专门以青藏高原为题材创作的画家,也由此而产生了一些新的创作方法和技巧。如画家刘万年根据青藏高原的特点,创作出了冰川画法、干雪画法、火山岩画法、风化石画法、枯碱滩画法、松沙土画法、草皮画法、茅草画法、泥石流画法、结构积彩法、融化泼彩法、雪雾画法、留白点睛法及横断重叠构图法等,这种形式表现无疑是具有创造性和开拓性的,拓展了中国传统山水画的表现领域和创作题材,为中国绘画注入了新的内容。青藏高原是中国不可或缺的一部分,她的存在充分显示了中国区域地理的独特性,以青藏高原为题材的绘画作品也层出不穷。在2009年举办了新中国成立以来规模最大的以青藏高原为创作背景的作品展,展览内容包括了二十世纪以后以青藏高原为题材创作的所有重要的艺术作品,这次展览的举行对于今天的美术创作和美术史研究无疑具有非常重要的参考价值。画家们在以青藏高原题材为创作背景时,往往会遇到很多在传统绘画中不曾见到过的各种境遇和问题,这就需要画家再回到真实的自然之中,融会贯通而发展创造出适合新题材新时代的绘画语言,这无疑拓展了传统中国画绘画题材和表现方法。
[Abstract]:Qinghai-Tibet Plateau Landscape Painting belongs to a relatively new art theme. After the 20th century, some paintings with the Qinghai-Tibet Plateau as the object of expression, and gradually formed a climate. Because of the Qinghai-Tibet Plateau has a relatively special natural landform and folk customs, can be seen everywhere in the Qinghai-Tibet Plateau windward five-color sutras, Mani stone. The mysterious atmosphere of the Qinghai-Tibet Plateau is engulfed by piling and piling up of pious believers, as well as the gloomy and powerful code. The fear of nature is unimaginable in many other places, such as the mountains being called goddesses and the lakes being called holy lakes. The atmosphere emanating from the Qinghai-Tibet Plateau, No. As any artistic processing has its own primitive state, so the works created with this theme are often with the unique temperament of the Qinghai-Tibet Plateau, with high artistic value, and this theme works have won many awards and become a noticeable cultural phenomenon.
The theme of the Qinghai-Tibet Plateau is very rare in traditional Chinese paintings, mainly because of its special geographical location and traffic problems, so that many people do not understand here. The paintings of this period have the suggestive effect of arousing the feelings of the Chinese nation community, and are in accord with the overall situation of the Anti-Japanese War. The representative painters are Zhang Daqian, Ye Shanyu, Wu Zuoren, Guan Shanyue, Zhao Wangyun and so on. Most of the trips to the Qinghai-Tibet Plateau were personal activities, and there were no painters with the Qinghai-Tibet Plateau as their subject matter. 2. Since the founding of New China in the mid-20th century, since 1960, there have been artists organized by the government to create styles on the Qinghai-Tibet Plateau, such as Pan Shixun, Dong Xiwen and Wu Guanzhong, which were organized by the government. At the same time, there began to be painters who had been working on the Qinghai-Tibet Plateau for a long time, such as Zhu Naizheng and Han Shuli. 3. With the improvement of traffic, social stability, and the unique customs and customs of the plateau, many painters began to come to appreciate the Qinghai-Tibet Plateau. There are many painters who specialize in the Qinghai-Tibet Plateau, and some new methods and techniques have emerged. For example, Liu Wannian, a painter, created glacier painting, dry snow painting, volcanic rock painting, weathered stone painting, dry alkali beach painting, loose sand mud painting, and turf painting according to the characteristics of the Qinghai-Tibet Plateau. Thatch painting, mudslide painting, structural coloring, melting and splashing, snow and fog painting, white dots and cross-section overlapping composition are undoubtedly creative and pioneering forms of expression, which expand the performance of traditional Chinese landscape painting and creative themes, and inject new content into Chinese painting.
The Qinghai-Tibet Plateau is an indispensable part of China. Its existence fully demonstrates the uniqueness of China's regional geography. Paintings on the Qinghai-Tibet Plateau have emerged one after another. The largest exhibition of works on the Qinghai-Tibet Plateau since the founding of New China was held in 2009. The exhibition is undoubtedly of great reference value for today's art creation and art history research.
Painters in the Qinghai-Tibet Plateau subject matter as the background of creation, often encountered a lot of traditional paintings have never seen a variety of circumstances and problems, which requires the painter to return to the real nature, integration and through the development of a new era of painting language suitable for the new theme, which undoubtedly expands the traditional Chinese painting subject and subject matter. Ways of expression.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J209.2

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